Download Mythology: Teachers` Notes

by Dugald A. Steer
Teachers’ Notes
by Nikki Gamble
contents
Introduction
1
Curriculum context
1
MYTHOLOGY
2
FRONT COVER
2
Endpapers – The Framing Narrative
3
An Introduction to Mythology
4
The Olympians and the World
7
The Creation of the Gods
9
Monsters and Mythical Beasts
11
The Origins of Mankind
13
Zeus and Hera, Rulers of the Gods
14
Poseidon and the Sea
15
Hades and the UnderwoRld
16
Ares, Aphrodite and Hephaestus
17
Apollo, Hermes and Dionysus
18
Athena, Artemis and Hestia
19
Heracles and the Greek Heroes
21
The War against Troy
22
IP FILTERED ON www.ologyworld.com
Mythology: ISBN 978-1-84011-893-3
The book Mythology: Greek Gods, Heroes & Monsters was first published in the UK in 2007 by Templar Publishing,
an imprint of The Templar Company plc, The Granary, North Street, Dorking, Surrey, RH14 1DN, UK.
Illustrations copyright © 2007 by Nick Harris, Nicki Palin and David Wyatt.
Text and design copyright © 2007 by The Templar Company plc.
The Mythology logo is a trademark of The Templar Company plc.
In the early nineteenth century, an English gentleman embarked on a tour of the sites of Ancient Greece. He brought as his
guide a primer on Greek myths written by his friend Lady Hestia Evans, a devotee of Lord Byron, who had recently taken the same
voyage. Lady Hestia’s book was not only lavishly illustrated but also boasted many paper crafts and novelties, including a card game
featuring the twelve Olympians, an oak-leaf oracle of Zeus, a pop-up Pandora’s box (with hope still inside), a booklet retelling the
tale of Odysseus, a piece of the Golden Fleece, a replica of an ancient coin, and many more flaps, fold-outs and other surprises. The
traveller added his own witty comments and drawings along the way, alluding to his request to Zeus for a certain mythical power.
The gods seem to grant his wish, for as the book nears its end, it slowly begins to turn to gold...
Curriculum
context
The suggested
activities are
intended
to support
a creative
curriculum with
opportunities
for links to be
made across
subjects. Where
possible it is
suggested that
learning can be
enhanced by visits
and opportunities for
on-site learning outside
the classroom. In line with
the thinking behind Excellence
and Enjoyment, opportunities to build on
children’s cultural capital are promoted. This
includes making connections with, and building on,
existing knowledge that may have been acquired through
film and computer games, as well as books and more
traditional sources. This is not a scheme of work but a
menu of possibilities, which teachers can draw upon to
aid their planning.
History: This work links to QCA units 14 and 15, the study
of Ancient Greece, which is recommended for pupils in Years
5–6. Where appropriate, links to the relevant QCA unit and
section have been included.
Literacy: These suggestions
provide opportunities for
studying Greek myths and
legends. They can be
adapted for different
age groups. For those
working with the
revised Primary
Framework, these
suggestions can
most readily be
accommodated in
one of the Narrative
units for Year 5: Myths,
Legends and Fables. A
range of writing genres
are suggested, each of
which can be developed over
several lessons. These include
persuasive writing (e.g. travel
brochures and adverts), obituaries and
journals. Topics for research are highlighted
and various outcomes for presenting this research
are suggested. The conventions of drama are discussed and their
use in exploring emotional topics is recommended.
Art: Several art-related topics can be explored. Pattern, pottery
and architecture afford opportunities for pupils’ own artwork
as well as opportunities to learn more about the history of
art, in particular the legacy of the Greeks. Classical subjects in
works of art through the ages provide further opportunities for
learning about art and artists as well as providing a stimulus for
further cross-arts work including writing. Finally, it is suggested
that, where possible, opportunities for visiting art galleries and
museums are integrated in the study of Mythology.
Mythology: Teachers’ Notes
Introduction
1
The following teaching suggestions have been organised
chapter by chapter for ease of use. However, many of the
suggested activities allow you to draw on material from
several chapters. For instance, the activity ‘Storytelling
performance’ is outlined in the notes for the chapter ‘An
Introduction to Mythology’ but is relevant to the stories
from other chapters, and the teaching suggestions for
‘Warfare in Ancient Greece’ can be applied to the Battle
of Marathon or to the Trojan War.
Front cover
Teaching suggestions
Discuss the front cover:
ww What language is written in the strips at the top and
bottom of the cover?
ww Do the pupils know the word ‘mythology’? In what
context have they heard it? Encourage them to draw as
widely as possible on their own cultural referents. They
may, for instance, be familiar with the computer game Age
of Mythology, or they may have heard the word linked to
collections of stories, films or comic strips. Invite them to
share the myths they know with talk partners or in small
storytelling circles.
ww After activating prior knowledge of the subject, ask them
to propose a definition for ‘mythology’. Encourage them
to use a range of dictionaries to check their suggestions.
Write the dictionary definition on a large sheet of paper
and display this in the classroom.
Mythology: Teachers’ Notes
MYTHOLOGY
ww Explain
that different cultures gave rise to their own
mythologies. There are many similarities in these
mythologies, e.g. creation stories and hero tales are
widespread. Cultural differences are also evident. Using
clues from the cover, which mythology do the pupils think
this book is about?
ww Talk about the image in the centre of the cover. What
does this suggest? For example, you may discuss heroes,
monsters, good and evil, and action.
ww Vocabulary: Discuss the word ‘ancient’. Locate a
dictionary definition. Make a timeline and place the
Ancient Greek Empire on that timeline. Note that
there are differences of opinion about these dates, but
historians generally use the dates from 1000 BC to the
death of Alexander the Great in 323 BC. Make sure pupils
understand the use of ‘BC’ and ‘AD’.
ww Names:
The book’s purported author, Lady Hestia, is
named after the Greek goddess of the fireside. Pupils can
investigate the origins of their own names. Using books
of baby names, they can find out whether any of their
names have Greek origins. Older relatives might also have
2
E L
T R A V
T O
Mythology: Teachers’ Notes
,
!
names that come from Greek. Find out the meanings of
• a&‘Bon Voyage’ card from Lady Hestia to a friend called
LANDS
K I SOro
these names, e.g. Chloe, Iris, Agatha, Agnes, Alec, Alex, T H E G R E EJohn
Alexander, Alice, Alisha, Christopher, Calypso, Hermione...
• VISaITletter
to the reader from John Oro explaining his
THE
HEROES,
&
S
D
O
G
LAND OF problems
& JASON,
HERACLES
HESEUS,
FOLLOW T • a poem beginning ‘O Muses’ written by Lady Hestia Evans
Additional ideas
B R IN G
THE
ww Make a display. This might include:
• books about Ancient Greece and Greek mythology
• postcards, photographs or travel posters showing
Greek monuments
• holiday souvenirs from pupils. If they have been
to Greece, they may be able to provide photos,
postcards or other mementoes. They can produce
informative labels for objects and place them in a
class ‘museum’
• maps and an atlas
• dictionaries (for identifying word origins)
ww Transform the classroom into a Greek temple. Run a
frieze around the top of the wall, perhaps depicting the
twelve labours of Heracles or the voyage of the Argo (see
page borders). Greek columns made from paper can be
used to mark display areas.
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endpaper shows
a collection of
artefacts. These
include:
• a painting of
Lady Hestia
Evans subtitled
‘in Albanian
disguise’. This is
a pastiche of a
painting of Lord
Byron, painted
by Thomas
Phillips in 1813.
L E G EN D S
TO
L IF E !
vê t|z
lz
~ ‹’ ê zŒ ‘Š ê ’‰ ê
„ê ~’• ‡ ê s’ ‘Š
ê n’ ‘ˆ ±
v‰ ê t ŒŠ ‹— œê o ˆ•
’ˆ –±ê v œ “Œ „‘
ê n’ ‡– ±
v‰ ê {ˆ •• Œ… ˆ ê t
’‘ –— ˆ• –ê „‘ ‡ê m„
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o ˆ “ê t ˆê —’ ê {ˆ
ê ’‰ ê {‹ ˆ– ˆê ~
’‘ ‡ˆ •‰ ˜ ê {‹ Œ‘
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Š– ±
 ˆê —’ ê —‹ ˆê s„ ‘‡
ê ’‰ ê n• ˆˆ †ˆ
{’ ê z“ ˆ„ Žê ’‰ ê o
ˆ• ê t œ— ‹– ê „‘ ‡ê
o ˆ• ê t œ– —ˆ •œ­
Á s„ ‡œ ê o ˆ– —Œ„ ê
l™ „‘ –±ê h— ‹ˆ ‘– ±ê
¡¨ ¢¥
L
ꢪ ª§ê
Teaching
suggestions
êw ˜… Œ– ‹ˆ ‡êŒ ‘ê— ‹ˆ ê| rê Œ‘
mŒ •–—
…œ ê{ˆ “ „• êw ˜… Œ– ‹Œ ‘Š
­
“„• êj’ “„ ‘œê“ †±ê
ꒉê {‹ˆ
p“ •Œ‘—do
ww Mystery:h‘êWhat
theê{ˆ
children
think
has
happened
|r ­
¤ê¡ ql±ê
±êyo
y’„ ‡±êk ’•Ž Œ‘Š ±êz˜ ••ˆœ
wŒ“ “…• ’’Ž êtŒ ±ês ’‘‡ ’‘ê
to
the English explorer when he writes,
‘I feel I can no longer
ª§ê …œê uŒ† Žêo „•• Œ–±ê
–—•„ —Œ’‘ –ꆒ “œ• ŒŠ‹ —êè ꢪ
—­
holdp˜
this
pen…’?
œ„—
uŒ† ŽŒêw„Œ‘ ꄑ ‡êk „™Œ ‡ê~
„•ê j’ “„‘œê“ †­
‹ˆê{ˆ“how
ꢪ ª§ê
•
Encourage
them
to…œê{
predict
the story will
“œ• ŒŠ‹ —êè
êj’
ŒŠ‘
kˆ–
—êÆê
{ˆ›
„•êj ’“ „‘œ ꓏† ­
“
ˆê{ˆ
•Žê’ ‰ê{‹
’Šœ ês’ Š’êŒ –ê„ê —•„‡ ˆ„
{‹ˆ êtœ —‹’
unravel.
o { z êy l z l y} l k ­
p n consider
s s êy to
• Askhpupils
the story
that is being set
©£¾ £
pzi uêê ©§¨ ¾¡¾¨ ¤ª¡ ¡¾¨
up. What image do
they have of Lady Hestia
¡êêê£êêê¥êêê§êêê©êêꡪêêê¨êêê¦êêê¤êêê¢
Evans? What
image
do they
have of John Oro?
Œ‘„
t„‘ ˜‰„† —˜•ˆ ‡êŒ‘ êj‹
• Use a ‘role-on-the-wall’ technique to develop
character profiles based on the information
presented here and the inferences that the
pupils make.
@Xd
?fn`ejg`i\[ Æj ww Muses:
Who are the Muses in Greek mythology? Why
`X
YpCX[p?\jk
does Lady Hestia Evans’ poem begin ‘O Muses’? Research
[\jZi`gk`fejf] Xe¶ paintings of the Muses using the internet and other
XeZ`\ek>i\\Z\ \ij% sources. For example:
[
• Eustache Le Sueur, The Muses Clio, Euterpe
`kj_`jkfi`Znfe fe\
and Thalia
Xk
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fe
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the Muses
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• John La Farge, The Muse of Painting
il`ej
• Caesar van Everdingen, The Four Muses with Pegasus
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ww Research the Elgin/Parthenon Marbles and the
competing arguments about the transportation of
antiquities to Britain in the 19th century. Find 19th
century arguments and contemporary arguments.
http://en.wikipedia.org/wiki/Elgin_Marbles
• Organise a debate with one half of the class
arguing that the antiquities should remain in
Greece (the position taken by Lord Byron) and
the other half arguing in favour of museum
collections (the position taken by Lord Elgin).
ww Narrative:
If you are planning to base your teaching
about Ancient Greece around Mythology and the chapter
by chapter organisation, you may want to use the framing
narrative to structure an extended journey drama.
An Introduction to
Mythology
Description
The left-hand and right-hand margins are the travel diary of
John Oro. These include:
• an illustration of a book entitled Childe Harold’s
Pilgrimage. This epic poem by Byron describes
the reflections of a world-weary young man who
travels to foreign lands in search of inspiration.
• an illustration of Greek gold. The discovery
of hoards of Neolithic Greek gold helped
archaeologists understand the metal-working
skills of the Ancient Greeks.
Mythology: Teachers’ Notes
• Jean-Dominique Ingres, The Birth of the Muses
• Lorenzo Costa, Reign of the Muses
The main spread includes:
• a picture of the statue of Zeus in the temple of
Olympia
• a vase showing the myth of Dionysus and the pirates
• a book containing the Ancient Greek alphabet
• borders running across the top and bottom edges
depicting the twelve labours of Heracles
ww Journey Drama: Preparing for a tour. Using the drama
convention ‘teacher-in-role’, talk to the class as though you
are the leader of a tour to Greece, with the pupils in role as
fellow travellers.
• Ask pupils to reflect on their expectations for
the voyage.
• What preparations would they make?
Teaching suggestions
• How would they feel about leaving family behind?
• How will they travel?
wo
w It’s
all Greek: Investigate
the Ancient
{olê n vkz±ê
lyvlzêhu
kêtvuz{
lyGreek
zê alphabet.
• Use{the
of Ancient Greek to decipher the names
vmê hujplu
ênbook
y lljl­
Drama is a useful vehicle for creating ‘a need to know’ about
of the gods printed on the gold borders on the top
the period and place depicted. Through drama, pupils
and bottom edges of the front and back covers.
raise questions or reveal anachronistic understandings
that can be used to initiate further research. After the roleplay, investigate travel in the 19th century. What methods
of transport were used? Use a map or atlas to chart your
journey. Find out about the great explorations of the period.
NzuiPMPHz
s h k€ ê o l z { p h ê l }h u z
ww Writing-in-role:
Following the role-play, pupils can be
invited to write in role. For instance, they might write
a diary entry in the role of a traveller the night before
leaving for Greece.
• Ask pupils to write their own names in Greek
z { | k l u {characters.
Ø z ê l k p {This
pvu
­ be done on the computer
could
~p{oêhtwslêzwhjlêmvyêê
using an appropriate font.
http://www.eff.co.uk/W/P/CmsRR_G.htm
êthynpuhsêuv{lzêÆêvizly}h{pvuz­
pss|z{yh{lkê~p{oêu|tlyv|zêwsh{lzêhukêthwz­
ê
jvu{lu{z®êhuêpu{yvk|j{pvuê{vêt€{ovsvn€êÁêthwêvmêhujplu{ênylljlêÁê{olêjylh{pvuêê
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4
VISIT THE
HEROES,
LAND OF GODS &
N,
ERACLES & JASO
H
,
S
SEU
HE
T
OW
FOLL
TH E
L EG EN DS
TO
L IFE !
• Research the modern Greek alphabet. How does it
differ from the Ancient Greek alphabet?
Mythology: Teachers’ Notes
B RIN G
Directions
vê t|z
~ ‹ ’ ê z Œ‘
lz
Š ê ’ ‰ê „ ê ~
1.Make a base:
’ • ‡ ê s ’ ‘
v ‰ê t ŒŠ ‹ —œ
Šê n’‘ˆ±
ê
o
ˆ •’ ˆthick.
–± ê v œUsing
‰ê {ˆuntil
Flatten clay with rollingvpin
is 1cm
•• Œ… ˆitê t
 “ Œ„ ‘ ê an
’ ‘ –— ˆ •– ê „
o ˆ “ ê t ˆ
‘ ‡ ê m„ … ˜ ’ ’ ‡ –±
—’ ê {the
pattern as a guide, cut am circleê for
ww Greek pots: Find images
ˆ base.
˜ –ê i ˆ „ –—
–±
’ •ê pê o „™ˆ  ê ’ ‰ê { ‹ ˆ –ˆ ê ~’ ‘ ‡
ˆ •‰ ˜ ê { ‹
ê j ’  ˆ ê —’
2.Create a clay coil:
of Greek pottery from
Œ‘ Š –±
{’ ê z “ ˆ „ Ž
ê
—‹
ˆ
ê
s
„
‘
ê ’ ‰ê o ˆ •ê
t œ— –ê „ ‘ ‡ ê ’ ‰ê n •ˆ ˆ †ˆ
‡thick
From a small ball, roll out aÁ ssausage
postcards, travel brochures,
ê o ˆ •ê t œ–
„ ‡ œ ê o ˆ– —Œof clay‹1cm
„ ê l ™ „ ‘ –±
—ˆ •œ­
ê h —‹ ˆ‘ –± ê
with moistened hands. Use a light rolling motion
to ¡¨ ¢ ¥
books and internet sources.
keep the sausage as even as possible.
There are examples
3.Attach the coil to the base:
throughout Mythology of
Roughen the edges of the base and coil with a scoring
different forms of Greek
tool. Apply some slip with the brush to the edge of
pottery. Find out about the
the base. Now gently press the coil around the edge
images and decorations on
mŒ•–—êw˜…Œ–‹ˆ‡êŒ‘ê—‹ˆê|rꌑꢪª§ê
of the base.
the pottery. Ask pupils to
…œê{ˆ“„•êw˜…Œ–‹Œ‘Š­
4.Continue to add coils:
find recurring pot shapes. They may find examples of the
h‘êp“•Œ‘—ê’‰ê{‹ˆê{ˆ“„•êj’“„‘œê“†±ê
Roll out another
coil and place it on the top of the first,
following:
wŒ““…•’’ŽêtŒ±ês’‘‡’‘êy’„‡±êk’•ŽŒ‘Š±êz˜••ˆœ±êyo¤ê¡ql±ê|r­
carefully joining itp˜–—•„—Œ’‘–ꆒ“œ•ŒŠ‹—êèꢪª§ê…œêuŒ†Žêo„••Œ–±ê
to the one below by roughening the
• Krater – large, wide-mouthed vessel used for
uŒ†ŽŒêw„Œ‘ê„‘‡êk„™Œ‡ê~œ„——­
edges and then
smoothing
with your thumb. Repeat
mixing water and wine, and often placed in the
{ˆ›—êÆêkˆ–ŒŠ‘êj’“œ•ŒŠ‹—êèꢪª§ê…œê{‹ˆê{ˆ“„•êj’“„‘œê“†­
{‹ˆêtœ—‹’’Šœês’Š’ꌖê„ê—•„‡ˆ„•Žê’‰ê{‹ˆê{ˆ“„•êj’“„‘œê“†­
with more coils.
centre of a room
5.Shaping the walls: h s s êy p n o { z êy l z l y} l k ­
• Hydria – narrow mouth with a lid for carrying water
pziu êꩧ¨¾¡¾¨ ¤ª¡¡¾¨©£¾£
The pot may be curved outward
or inward depending
• Kylix – two-handled flat drinking cup
¡êêê£êêê¥êêê§êêê©êêꡪêêê¨êêê¦êêê¤êêê¢
on the placement of the coils.
The
coils should become
http://en.wikipedia.org/wiki/Kylix_%28drinking_
t „ ‘ ˜ ‰„ † — ˜ •ˆ ‡ ê Œ ‘ êj ‹ Œ ‘ „
invisible as you smooth the pot’s edges.
cup%29
6.Decorate the pots:
• Oinochoe – tall, narrow-mouthed jug with a
Allow the pot to dry. When it is no longer workable
pouring spout
http://en.wikipedia.org/wiki/Oinochoe
(leather hard), cover it in black slip. Using a
fn`ejg`i\[@byXdhand
?
sgraffito
• Amphora – large, tall urn often with two handles,
Æj technique, scratch a decorative design on
YpCX[p?\jk`Xthe
pot.
used for storing wine, corn, oil and honey
]
f
ej
k`f
`g
jZi
[\
7. Fire the pot:
http://en.wikipedia.org/wiki/Amphora
Xe¶
• Khyton – character shape for wine drinking XeZ`\ek>i\\Z\When the pot is completely dry, it is ready to fire.
kf
@Xdcfe^`e^kf^\k p
>i\\Z\Xe[jkXikd j%
j\XiZ_]fiXek`hl`k`\
G\i_Xgj@j_XccÎe¶kkf
jfd\k_`e^f]`ek\i\j \n
Di%GXkXb`j]fi_`je
dlj\ld`e8k_\ej%
`kj_`jkfi`Znfe[\ij%
kfe\version of this activity is to draw a vase-shaped
A _X
simpler
Pottery can be used as inspiration for pupils’ art N_fbefnjn
work. For instance, use a variety of vases and urns
Xdfe^jkand use this to cut out a clay slab. The slab can
`^_kÎe[template
d
be \j
with patterns painted using black acrylic
based on Greek shapes for still life drawing.
\6
k_ decorated
il`ejc`b\paint
and then fired.
ww Greek pottery: Make Greek style pots using a coil
technique. You will need to be familiar with basic pottery
techniques for this activity.
Materials
••
••
••
••
••
••
••
••
.CF[*GUVKC¶U'FKVQT
²&WICNF#5VGGT#TVKUVKE&KTGEVKQP²
0
If possible, visit a museum
to view examples of Greek
pottery. This can be linked to the QCA art unit ‘Visiting
+NNWUVTCVKXG+ORTGUUKQPUD[0KEM*CTTKUCPF0KEMK2CNKP'PITCXKPIUD[
a Museum’:
0CTTCVKXG(TKG\GUD[*GNGP9CTF/[VJ%QPUWNVCPV²1N[ORKC$
http://www.standards.dfes.gov.uk/schemes2/art/
museum/?view=get
Clay
Cloth-covered table or board
Plastic bag, large enough for storage of work in progress
Rolling pin
Clay slip and brush
Scoring and modelling tools
Small container of water to moisten hands
Circular base pattern – 10cm diameter
ww The Seven Wonders of the World: The statue of Zeus in
the Temple of Olympia was one of the Seven Wonders of
the Ancient World. Considered to be the greatest work of
Greek sculpture, it was 12 metres tall.
• Set a task to find the complete list of the Seven
Wonders of the Ancient World.
5
Mythology: Teachers’ Notes
vmêhssê{olêt€{ozꒉꊒ‡–ê„‘‡ê‹ˆ•’ˆ–±ê—‹ˆê—„ˆ–ꒉꗋˆê„‘†Œˆ‘—ên•ˆˆŽ–ê–—Œê–ˆˆê„–ꉕˆ–‹ê„–êš‹ˆ‘êo’ˆ•ê
‰Œ•–—ê–„‘Šê’‰ê{•’œ±êš‹ˆ‘꓈’“ˆê–“’ŽˆêŒ‘êš‹Œ–“ˆ•–ê„…’˜—ê—‹ˆêŒ–‰’•—˜‘ˆ–ê’‰êtŒ‡„–ê„‘‡êš‹ˆ‘꜒˜‘Šêš„••Œ’•–ê
šˆ•ˆêŒ‘–“Œ•ˆ‡ê…œê—‹ˆêˆ›“’Œ—–ê’‰êoˆ•„†ˆ–­êp—êš„–ê„ê—Œˆêš‹ˆ‘±ê‡šˆŒ‘ŠêŒ‘ê—‹ˆŒ•ê†•œ–—„ê“„„†ˆ–ê„—’“êt’˜‘—ê
vœ“˜–±ê—‹ˆêŒ’•—„êŠ’‡–Ꚉ•ˆê’‰—ˆ‘ê–„Œ‡ê—’ꐈ‡‡ˆêŒ‘ê—‹ˆê„‰‰„Œ•–ꒉ꒕‡Œ‘„•œê‹˜„‘ê…ˆŒ‘Š–­
{ol ê z{h{| lê v mê l |zê puê {olê {lt wsl ê h{ê v s€t wph ­
golden touch, Atlas’s punishment, and the twelve labours
• Have any of them survived?
{hslzê
vmê
nvkzê
hukê
olyvlz­
of Heracles.
• How was the statue of Zeus made? What was it
ê s’‘Šêmade
„Š’±êof?
—‹ˆê “ˆ’“ˆê ’‰ê n•ˆˆ†ˆê …ˆŒˆ™ˆ‡ê —‹„—ê „‘†Œˆ‘—ê
n•ˆˆŽ–±ê
Œ‘†˜‡Œ‘Šê
• Ask
each group
to read theoˆ–Œ’‡±ê
story aloudo’ˆ•ê
and then „‘‡ê
—‹ˆêš’•‡êš„–ꕘˆ‡ê…œê„ꊕ’˜“ꒉꓒšˆ•‰˜êŒ’•—„–ê
h“’’‘Œ˜–ê’‰êy‹’‡ˆ–­ê{‹ˆ–ˆêš•Œ—ˆ•–ꏈ‰—ê
˜–ê „ê •Œ†‹ê
retell the story in a storytelling circle. This informal
• Show the pupils how to record sources for the
Ž‘’š‘ê„–ê—‹ˆêŠ’‡–­ê{„ˆ–ꒉꗋˆ–ˆêŠ’‡–±ê–˜†‹ê„–ꁈ˜–±ê
–—’•ˆê’‰êœ—‹–ꌑꗋˆŒ•ê…’’Ž–­êoˆ–Œ’‡±ê‰’•êˆ›„“ˆ±ê
oral rehearsal helps the pupils internalise the story.
information they find. Introduce them to the idea of
h—‹ˆ‘„ê „‘‡ê
w’–ˆŒ‡’‘±ê
„‘‡ê
’‰ê more
‰„’˜–ê
‡ˆŒŠ’‡–ê
„‘‡ê
’‰ê —‹ˆê
š•’—ˆê
—‹ˆê †•ˆ„—Œ’‘ê
—‹ˆê
Š’‡–ê
•’‰ê
Provide
each group’‰ê
with
a large
sheet
of paper
on š„•ê
checking
information
by using
than one
source. ê
„‘‡ê ‹ˆ•’ˆ–±ê
ŒŽˆê oˆ•„†ˆ–±ê
q„–’‘ê „‘‡ê
{‹ˆ–ˆ˜–±ê „•ˆê š„Šˆ‡ê…œêˆ˜–±ê—‹ˆêŽŒ‘Šê’‰ê—‹ˆêŠ’‡–­êˆ˜–ê…„——ˆ‡ê
which they can storyboard their myth. They need
• This could
be set as a homework
task.
†„ˆ‡êœ—‹–­êu’š„‡„œ–±êšˆê†„‘ꉌ‘‡ê’˜—ê„…’˜—ê—‹ˆê „Š„Œ‘–—êto‹Œ–ê
†’‘—•’ê
draw‰„—‹ˆ•±ê
six to eightj•’‘˜–±ê
key scenes,‰’•ê
making
sure the’‰ê —‹ˆê
vœ“Œ„‘ê
Š’‡–ê
—‹•’˜Š‹ê —‹ˆê
š•Œ—Œ‘Š–ê
’‰ê ‘˜ˆ•’˜–ê
‹ˆ„™ˆ‘–±ê—‹ˆêl„•—‹±ê—‹ˆê˜‘‡ˆ•š’•‡ê„‘‡ê—‹ˆê–ˆ„­
beginning, developing conflict and resolution have all
ww Storytelling
performance:
Provide
small groups
(four
been included. They may want to add some dialogue
to six pupils) with copies of the stories mentioned in
in speech bubbles, or sound effects (e.g. the sound
Mythology. These stories include: Zeus’s battle with his
of the sea, or a battle). This activity should involve
father Cronus, Dionysus and the pirates, Midas and his
6
•
•
•
•
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efkd\\kDi%GXkXb`j%@ejk\X[#
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k\dgc\f]Gfj\`[fe%
POSEIDON
Mythology: Teachers’ Notes
•
collaborative drawing. All members of the group
need to participate rather than giving one person
instructions. This further reinforces the story and is
vital preparation for the storytelling performance.
The storyboards are a visual aid that the pupils can
use to support their storytelling performances.
Ask groups to decide how they will perform their
stories. They could use instruments and sound
collage, as well as acting out sections of dialogue.
Groups perform stories to the class or perhaps a
parallel class or a school assembly.
For an extra special performance, set the scene
with Greek music, a PowerPoint presentation
showing some Greek islands or pictures showing
a reconstruction of ancient Athens.
This activity could also be used to tell stories that
are mentioned in other parts of the book.
ww Travel
journal: Introduce the term ‘travelogue’ for a travel
journal. John Oro’s travelogue is recorded in the left- and
right-hand columns of ‘handwritten’ text.
zv|upvu±êzp{lêvmꗋˆê—ˆ“ˆê’‰êw’–ˆŒ‡’‘±ê–—„‘
• Have any pupils kept travel journals when on
’‘ꄏê—‹ˆê–‹Œ“–ê„““•’„†‹Œ‘Šê—‹ˆê†Œ—œ­êw’–ˆŒ‡’‘±êŠ
holiday?
• You
could
this is a way
of keeping
a record
h—‹ˆ‘–ê
„‘‡ê
„‘êsuggest
Œ“’•—„‘—ê
Š’‡ê
‰’•ê —‹ˆê
tˆ‡Œ—ˆ••„‘
of special holidays.
w’–ˆŒ‡’‘ꆒ˜‡êˆŒ—‹ˆ•êŽˆˆ“ê—‹ˆê–ˆ„ꆄê’•ê•„Œ–ˆê˜
The Olympians
and the World
Description
This chapter is a double-page map of Ancient Greece. The
map has a decorative border depicting Zeus and the gods
of Mount Olympus.
A fold-out flap shows the genealogy of the gods, monsters
and heroes of Ancient Greece.
The return page provides an overview of the Olympians and
their world.
Teaching suggestions
ww The journey: Create an enlarged copy of the map and
display it alongside a map of modern Greece. Chart the
journey taken by John Oro, using coloured wool or marker
pins. As you read each chapter, you can add the next stage
of his journey to your map.
ww Then and now: Accompany the map display with
stimulus questions to encourage pupils to explore the
maps. For example:
• In which modern country is the city of Troy?
• Does the city of Sparta appear on the modern map?
• What do we call Macedonia today?
w v zlp
• Is Athens to the north or south of Heraklion?
hukê
htwo
Thewvzlpkvuê
questions can be changed
periodically
to p{yp{l ­
encourage fresh engagement. Provide paper and pens
ê tow’–ˆŒ‡’‘ؖꚌ‰ˆêš„–ꆄˆ‡êh“‹Œ—•Œ—ˆ­ê~‹ˆ‘ê
encourage pupils to add their own questions.
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]fle[k_\jgfkn_\i\Cfi¶
‰Œ•–—ê š’’ˆ‡ê ‹ˆ•±ê –‹ˆê ‰ˆ‡ê „‘‡ê ‹Œ‡ê Œ‘ê —‹ˆê h—„‘
wwv†ˆ„‘±ê–’êw’–ˆŒ‡’‘ê–ˆ‘—ê„ꇒ“‹Œ‘ꗒꆋ„–ˆê„‰—ˆ•ê‹
Important sites of Ancient Greece: Obtain copies of
travel brochures, tourist information and web pages with
„‘‡ê…•Œ‘Šê‹ˆ•ê…„†Ž­êw’–ˆŒ‡’‘ê„‘‡êh“‹Œ—•Œ—ˆê„••
„‘‡ê‹„‡ê„ê–’‘ê‘„ˆ‡ê{•Œ—’‘±êš‹’ê‹„‡ê—‹ˆê…’‡œ
„ꐄ‘ê„‘‡ê—‹ˆê—„Œê’‰ê„ꉌ–‹ê„‘‡êš‹’ꏌ™ˆ‡êšŒ—‹ê—‹
Œ‘ê—‹ˆŒ•ê“„„†ˆê˜‘‡ˆ•ê—‹ˆê–ˆ„­ê{•Œ—’‘ꆄ••Œˆ‡ê„ꆒ‘
–‹ˆ±êš‹Œ†‹ê‹ˆê†’˜‡ê…’šêˆŒ—‹ˆ•ê—’ê•„Œ–ˆê’•ê”˜Œˆ—
7
ar
Ares, God of W
Ze
us
i
,K
ng
At
hen
of the
Go
ds
Hera, Queen of the Gods
a, Goddess of Wisdom
Aph
Hepha
estu
s, God of Fire
rodite, Godd
ess of Love
Key
G
Apollo,
Artemis, G
od
de
ss
of
the
od of Mus
ic
Hunt
Map
OF
ANCIENT
G reece
Dionys
us,
G
od
o
He
rm
es,
f Wine
Pos eidon, God of the Sea
information about these sites. If you have a good local
travel agent you might arrange a talk about cultural tours
to Greece.
• Ask pupils, in pairs, to research a site, finding out
about its significance in Ancient Greece and its
modern status. Do all of these cities still exist?
•• Knossos
•• Troy
•• Athens
•• Missolonghi (Messolonghi)
•• Sparta
•• Actium
•• Olympia
Note: This work can be aligned to QCA unit 14 on
Ancient Greece. Topic 2 requires pupils to understand
the concept of democracy and explain the differences
between Athens and Sparta. This could form the
core work, with pupils researching other cities as
extension activities.
Demeter,
G
Me
ssenger of the
Cartography
Gods
oddess of the H
arve
st
http://www.standards.dfes.gov.uk/schemes2/history/
his14/14q2?view=get
ww The
information resulting from this research could be
used to produce one of the following:
• a travel brochure
• a short tourist information film using Blue2
cameras and digital editing with software such as
Windows Movie Maker
• a tourist information leaflet
• a web page for the city
ww Gods, heroes and monsters: Use coloured string or
wool to create a wall display of the genealogical table.
The names of the gods, heroes and monsters can be
added to the tree as the pupils learn about them. Each
child in the class could select or be given a god, hero or
monster to study for an individual project.
• Devise a profile for the character, listing attributes,
functions and associations, e.g. Zeus – Functions:
8
ww Vocabulary: Generate an interest in words. This will help
establish good spelling strategies for pupils who are
‘transitional’ or ‘good’ spellers. For example:
• Ask pupils to define ’cartography’ and ‘genealogy’.
Check definitions in a dictionary.
• Find out about the etymology of the words. The
first use of ‘cartography’ was from the French
‘cartographie’ – first recorded in 1859.
• Find out about the morphology of the words. For
example, the suffix ‘-graphy’ is an Anglicisation
of the French ‘-graphie’ but is derived from Latin
and, in turn, from Greek. It has come to mean a
field of study. The root ‘cart-’ is also from the French
‘carte’, meaning ‘map’.
• Make a collection of other ‘-graphy’ words and
display them.
• Choose one of these words as ‘Word of the Week’
and create a vocabulary focused display.
ww Astrological constellations: Display a map of the night
sky, showing both the northern and southern hemispheres.
• Investigate which space-related words pupils know
and write them on the board.
• Introduce Greek astronomers Anaxagoras and
Aristarchus. What theories did they have about the
night skies? How were these theories received?
• Which constellations are named after characters
from Greek mythology?
• Encourage the pupils to look for these
constellations in the night sky.
• Groups can make models of these constellations
using polystyrene balls painted silver and joined
together in the correct formation using drinking
straws. These models can be displayed against a
dark blue background, perhaps attached to the
classroom ceiling.
The Creation of the Gods
Description
The left- and right-hand columns continue the travel diary of
John Oro.
The main text includes information about the Titans, the gods,
Zeus’s conflict with the Titans and the birth of Aphrodite.
Teaching suggestions
ww History: QCA unit 14, section 5, focuses on the study of
the Greek gods, posing the question, ‘Who did the ancient
Greeks worship and why?’ These activities suggest ways in
which pupils might be able to answer this question.
• Using books and internet sources find images of
Greek temples. For example:
•• Parthenon, Athens
•• Temple of Hephaestus, Athens
•• Temple complex, Selinus
•• Valley of the Temples, Agrigento
What do the pupils deduce about religious
practices from these buildings?
• Greek gods had some human characteristics.
Stories about gods helped the Greeks to explain the
world around them. What are the similarities and
differences between the gods of Ancient Greece and
the theologies of other cultures?
ww Philosophy:
• Find out about the Greek philosophers Socrates,
Plato, Diogenes, Epicurus and Aristotle.
• Why have civilisations across the globe believed in
the existence of gods or God?
• Does God exist? What basis do you have for
thinking that?
• Historically, philosophical arguments for the
existence of God have included:
•• Onotological argument
•• First Cause argument
•• Telelogical argument (design)
•• Moral argument
• Arguments against the existence of God:
•• The presence of evil is an indication that there is
no omnipotent loving god.
•• Free will cannot exist with an omnipotent being.
Mythology: Teachers’ Notes
sky god, King of the gods, also known as ‘windbearer’ or ‘cloud-gatherer’. Attributes: eagle,
lightning bolt. Also associated with the oak and
olive trees. The Greeks prayed to Zeus for rain,
especially in times of drought.
• Make a collection of stories in which the god/hero/
monster features.
9
—’ꈗˆ•‘„ê“˜‘Œ–‹ˆ‘—­êu’ꊒ‡ê…ˆ†„ˆê•˜ˆ•ê’‰ê—‹ˆê
l„•—‹êŒ—–ˆ‰±ê‰’•ê–‹ˆêš„–ê—‹ˆê†’’‘ꊕ’˜‘‡ê’‰ê„­
ê u’—ê
j•’‘˜–­
š„–ê —‹ˆ
i˜—ê ’—‹
Š’‡‡ˆ––
„‰—ˆ•ê —‹
…ˆ„†‹ˆ–
˜‘‡ˆ•ê‹
Mythology: Teachers’ Notes
o lê { p {h u z ­
–ꈄ†‹ê Š„™ˆêŒ—ê—’êj•’‘˜–±ê—‹ˆêœ’˜‘Šˆ–—ê„‘‡ê’–—ê—ˆ••Œ…ˆê{Œ—„‘±ê
—„•˜–±ê š‹’ê–ˆ—ꄑꄐ…˜–‹ê‰’•ê‹Œ–ꉄ—‹ˆ•­êj•’‘˜–ê„——„†Žˆ‡ê
—ˆ‡êŒ‘ê |•„‘˜–ê ˜‘„š„•ˆ–ê „‘‡ê ‡ˆ‰ˆ„—ˆ‡ê ‹Œ­ê h–ê |•„‘˜–Ø–ê
™ˆê‹ˆ•ê –˜…–—„‘†ˆê‡•Œ““ˆ‡ê‡’š‘ê’‘—’ê—‹ˆêl„•—‹±êŒ—ꆕˆ„—ˆ‡ê—‹ˆê
—ê„‘‡ê nŒ„‘—–±ê—‹ˆêm˜•Œˆ–±ê—‹ˆêuœ“‹–ê„‘‡êh“‹•’‡Œ—ˆ­
˜–±ê Œ—ê
•ˆ„œê
‹•’‘ˆê
•’‘˜–ê
ˆ•­êoˆê
’ê —‹ˆê
‘ê „‘‡ê
‡±ê‰’•ê
’±êš„–ê
±êŒŽˆê
Š­ê z’ê
ˆê ‹Œ‡êê
­ê z‹ˆê
•’‘˜–ê
~‹ˆ‘ê
ꕒ†Žê
‹ˆêˆ‡ê
Œ—„‘–­ê
‘‡ˆ•–êê
‰•ˆˆ‡ê
ê šŒ—‹ê
‘‡ˆ•–ê
‡ê —‹ˆê
•ê—‹„—ê
{Œ—„‘–ê
„•Žˆ–—ê
—•’‘Šê
ˆ‘Šˆê
ê ~Œ—‹
ˆ‘’•’
„‘‡ê‹Œ–
„‘Š•œê Š
‡’š‘ꌑ
Š’‡–ê —‹
{‹ˆ–ˆê …
’‰ê „‘’—
‡ˆ‰ˆ„—ˆ‡
‰•’êš‹
ˆ˜–ꈙ
l—‘„±ê „
š‹ˆ‘ˆ™
painting by Botticelli, although she is known by her
While it is not necessary for pupils of this age to know or
Roman name, Venus, in the painting. Find out about
understand these arguments, you might
help them put
{ o lê ~h yê vmê n vkz ê huk ê { p {huz ­ê
some of these famous paintings:
their own arguments into a philosophical context.
• Giulio Romano, The Gods of Olympus
• Francisco de Goya, Saturn (Cronus) Devouring
ww Story writing: After reading stories about the creation of
his Son
the gods, ask pupils to create a new god. What would the
• Piero di Cosimo, The Myth of Prometheus
god’s special qualities and powers be?
• Dante Gabriel Rossetti, Pandora
• Pupils may prefer to draw their gods first and use
• Peter Paul Rubens, The Rape of Persephone
the drawings as a basis for storytelling.
• Jean Restout, Orpheus in the Underworld
• Notice how geographical features such as
• William Blake, Cerberus
volcanoes and the sea often have stories of gods
• Hendrick Goltzius, Venus and Adonis
associated with them.
• Nicholas Poussin, Echo and Narcissus
• Collaborative story making – in pairs, pupils should
• Jacopo del Sellaio, The Story of Cupid and Psyche
tell each other stories about the gods they have
• Titian, Bacchus and Ariadne
created.
• Giovanni Battista, Apollo and Daphne
• Gillis van Coninxloo, The Judgement of Midas
ww Art history: Many of the Greek myths have been depicted
• François Boucher, Pan and Syrinx
in art. The Birth of Aphrodite is the subject of a famous
10